Thursday, September 28, 2006

SAN FRANCISCO PEEPS: DARKER MY LOVE @ POPSCENE

To all my friends in SAN FRANCISCO, get out and see a great LA band, DARKER MY LOVE, tonight @ P O P S C E N EEvery Thursday at 330 Ritch18+ with I.D.From 10 PM to 2 AM$5 if you are 21+/ $8 otherwise (excluding special events)WWW.POPSCENE-SF.COM

THE OLD MAN STILL HAS IT: TOM PETTY @ THE HOLLYWOOD BOWL

After I lived through the STROKES doing what they do best, mail it in, LA got a treat last night > TOM PETTY & THE HEARTBREAKERS at the HOLLYWOOD BOWL. Complete with special guests like STEVIE NICKS and JEFF LYNN, the band stomped through their hits, or part of them anyway, and reminded everyone that not many bands are still around that cross generations the way they do from that far back. The kids behind us knew every word to songs off the new album, "Highway Companion", while the dad with his 2 daughters in front of us pumped his fist for "Don't Come Around Here No More". It was my first trip to the Bowl and it more than lived up to all the hype, simply gorgeous!

SET LIST:Listen to Her HeartMary Jane's Last DanceWon't Back DownFree Fallin'Saving GraceI'm a ManOh WellIts Good to Be KingHandle me with CareCabin Down BelowToo Much Monkey BusinessDown SouthSquare OneLearning to FlyDon't Come Around Here No MoreRefugeeAmerican Girl

ENCORERunning Down a DreamMystic EyesYou Wreck Me[Note: The following tour

Friday, September 22, 2006

BAND TO WATCH: LOVE LIKE FIRE

An old friend of mine recently sent me music from his new band, something radically different from his former group, and I was instantly impressed. The new band is San Francisco's LOVE LIKE FIRE and they have an EP out called Bed of Gold. I also received a two song demo cd of their new material, songs: 'Wish You Dead' and 'Inside Your Light', which showcase singer Ann Yu's powerful and interesting voice and presence. I haven't seen them live yet, but knowing Jesse, it will be an intense experience. They are cool enough to let everyone listen to the new tracks on their myspace page > http://myspace.com/lovelikefire

FILM SCHOOL FEATURED TODAY ON POPMATTERS

The opening band at the Echo's got a hot look -- beautiful guitars, a black female keyboardist with a Pam Grier afro, a singer pouring his heart into it, a bassist losing his mind -- but I'm not buying it. They may play with style and confidence, but the songs aren't built to last. The band doesn't look worn in and ready for crappy touring, years of playing without a record label really getting behind them, line-up shifts, bitter boyfriends or girlfriends who see them only when they're tired and burned out, jobs that suck out their souls, an album no one really cares about, and not having any money ever. Like many other fledgling bands, this band will be gone in one or two years. They'll be seeking shelter in grad school and more promising careers. More than ever in rock and roll, you have to be ready for the long haul. You might be wrapping up your dissertation by the time you release your first LP.

So what kind of band survives? What kind of band wants to survive?

Film School takes the stage next. It's the headlining slot and people are watching. This is the second-to-last show of the San Francisco natives' month-long US tour. The band's influences -- My Bloody Valentine, Pink Floyd, and the Cure -- are not entirely fresh, but the inclusion of the beautiful Floyd atmospherics help it stand apart.

A two-minute wave of guitar noise signals the beginning of the set. When the first song kicks in, the sound quality isn't perfect, but the band is unfazed. They've done this for years. Singer-guitarist-founder, Krayg Burton, stands on the right side, quietly overseeing the whole production. Dressed in black, he remains rather still for most of the set like a devout shoegazer. He's not emotionless, just calm. As songs hit their peaks, Burton thrashes wildly on his guitar in momentary energetic outbursts. Nyles Lannon, the other guitarist, is on the left side with a collection of pedals. He's always busy, sending the sounds of delay, bent notes, and trippy loops into the audience. Offstage, the drummer, Donny Newenhouse, rocks a happy-go-lucky, even goofy, demeanor, but onstage, he's all business, hitting hard and with precision. The most engaging member to watch is Justin Labo, the bassist. He stands in the center and plays his bass like a punk rocker, constantly on the move, dancing like a matador as he hammers down elaborate bass lines. By contrast, keyboardist Jason Ruck is pushed fully off to the left. He's so unassuming that you barely notice him, but when you really listen, you can hear his subtle keyboard threads tying together the rest of the loud rock sounds. In every song, he'll play that one sample or keyboard line that gives that song its character, the part that makes it stick in your head.

Halfway through its set, the band plays "He's a Deep, Deep Lake" and everything comes together: The sound clicks, the band locks into each other, and the crowd moves. The song begins with a hardcore introduction: everyone save for Jason is knocking up their instruments when all of a sudden the song descends into a hypnotic valley of keyboards and guitars paired with Burton's quiet singing. His lyrics, "We trusted you / To make up our minds / Colden our eyes / Quicken the time," are typical of Film School -- ruminations on bruised relationships and failed promise. The band sits in that sonic valley for a couple of minutes, slowly building it back up to the explosion that ends it. When the song is over, it's clear that Film School has conquered the room.

Saturday morning. Interstate 5, heading north to San Francisco

Lannon drives the Film School van while Newenhouse holds down shotgun. Newenhouse has big eyes, big hair and the type of smile that keeps a band happy when they've been on the road for four weeks. He and Lannon strike up conversations like telephones in Tokyo and don't let up until we stop for food. I'm on the rear bench, surrounded by guitar amps. Burton is next to me wearing a black hat, T-shirt and jeans, a pair of tired eyes and few days of facial growth. Labo looks edgy and fatigued on the bench in front of us. He takes out his laptop, puts on his headphones, zones everyone out and starts making electronic music on his computer. "I didn't sleep so much last night," Burton mutters. I can tell he doesn't want to be interviewed. But he is tragically nice, and his warm voice puts me at ease. As we hit a cluster of traffic trying to get out of L.A., Burton starts talking.

"At 10, I took piano lessons for a couple of years and played lots of ragtime and Mozart and stuff like that and then didn't touch an instrument again until 21. It wasn't until after hearing Nirvana that I thought I'd love to be in a band and, hey, maybe I could actually write music too. I'm not sure what clicked, but it became apparent to me at some point that I was spending most of my time either playing music, listening to music or working out melodies in my head, like at a job. Film School started in 1998 in San Francisco. It was my solo project at first. I had friends come in and put down parts on the first album [Brilliant Career, 2001]. Nyles worked at Epitonic.com, and they liked the first record. That's how we got in touch."

With Ruck and Lannon, Burton recorded a short but stunning bedroom-rock EP, Always Never (2003), which was meant to ultimately become a full-length record, but when they shopped it around, no labels returned their calls. A friend who ran a small indie, Amazing Grease, finally released it as a four-song EP. Fortunately, that friend happened to be Scott Kannberg (ex-Pavement), which helped give it exposure. The EP's mix of space-rock and catchy indie-pop became the band's calling card, and in San Francisco, a Film School show became "something to do" on a Friday night. When UK label Beggars Banquet showed interest, Film School signed a deal with it in 2005, after the National put in a good word. Alongside Rogue Wave and Deerhoof, Film School became one of the San Francisco bands to look out for.

The history seems standard enough for a band until I do the math and realize it was seven years ago when Burton started this thing. He could have become a doctor. Instead he chose seven years of working carpel-tunnel-inducing tech jobs to make the rent just to be one of the recognized bands in his hometown and land a record deal. He jokes, "I'm surprised I've stayed with it for this long. I don't even like music." He laughs. " What else could I be doing here? I could go to film school or become a writer."

Nevertheless he admits, "When we signed to Beggars we became a touring band." And with the release of the self-titled Film School in February 2006, the band hit the road for their first major US tour. Enter: Drama.

Seven years of work and all of your gear gets swiped on your first tour.

This was the year they were supposed to get on the map and all they got was a headache. "Getting our gear stolen struck at the moment when we had just started a tour, released a record, and we were fucked," comments Lannon. "The guitar I lost was 11 years old. I knew everything about it. I've never had that type of relationship with a guitar. Now I know to never take your best gear on tour."

"We got emails," Burton says. "A few people thought it was a publicity stunt, but I'd never wish it on our worst enemies."

As they tried to piece together the rest of their tour, reviews of Film School's first widely distributed album were hitting the press. Some were positive but others weren't: "Uncut wrote: An 80s rip-off that wasn't worthy of a Flock of Seagulls B-Sides collection'," Labo says. "I think they imagine us to be a band with black suits, black hair and white ties."

Burton adds, "Sometimes writers really get it. They listen to the album a few times, and they help you learn something about what you're doing. Then you get jackass writers who listen to 30 seconds of four songs and read other reviews online and then say the same shit they read."

Despite some negative reviews, the temporarily derailed band received support from other sources. Healthy amounts of press on music blogs and sites like Pitchfork as well as wholesale rates for new gear from Fender helped Film School survive its crisis and head back out, re-energized, for the summer tour. "The new gear probably changed us for the better," Lannon says, "because it forced us all to reevaluate our sound."

Saturday Night, San Francisco

We're at Slim's, the club where Film School will play its homecoming show. Lannon and I are slumped into the cushy couches of the Slim's green room. The show is in three hours. Lannon has a nerdy air about him: tall and lanky; rectangular glasses; a nasal, academic voice, not to mention an Ivy League philosophy degree from the University of Pennsylvania. Nerd or not, he gets his work done. Not only does he play in Film School, he also has two solo projects (the spacey-folk band, N. Lannon, and the electronic n.ln) and produces other musicians' albums. With his prominent use of distortion, delay and reverb in Film School I would have pegged him for a Kevin Shields disciple, but instead he draws inspiration from a band many Bay Area rockers are too quick to dismiss: the Grateful Dead.

"I buy into the whole idea of San Francisco, the summer of love and psychedelic music. I've been to 40 Dead shows. That's what I did in high school. Seeing Dead shows is how I came to relate to the whole live thing," he explains.

He cites three classic Dead albums, Anthem of the Sun (1968), American Beauty (1970) and Terrapin Station (1977), as his favorites, which makes sense: Anthem was an experimental masterpiece, Beauty was filled with tight, powerful songwriting, and Terrapin's title track showcased the band's ability to merge the two. This is also Film School's approach.

As Lannon explains the creative process behind Film School's most recent album, I get a sense of the band's flexible songwriting dynamic: " '11:11' and 'On and On' - those songs were done as jams all at once. 'Sick of the Shame' was an idea Krayg had on guitar and then I put all this electronic shit behind it. 'Pitfalls' was a loop I had on my pedal, and we built it around that. 'Like You Know' started off as a country jam Justin was playing on acoustic, and we made it a ballad with heavy droning guitars over it. I tend to come up with stuff in the moment when all five of us are jamming or in my studio all alone. Justin and Krayg will have a chord progression. They'll bring it in to see if it works."

Lannon loves writing and recording but complains about touring: "Tour is the most unstable existence. You have to turn off your life for two months, whether it's some job where I'm making money or my girlfriend. Everyone else moves on and I come back and I'm in the same place."

Late summer. San Francisco.

I'm in the Haight-Ashbury, one-time home of the Grateful Dead, now home to trust-fund hippies asking me for a dollar for some booze. Burton calls me up. He's down in L.A. with his girlfriend. I find a relatively quiet corner right off Haight Street. After the obligatory pleasantries, he cuts to the chase: Newnhouse and Labo have moved on from Film School. Goodbye rhythm section. Burton says, "With Justin moving to New York and Donny getting busy with a full-time job, we decided it wouldn't work out. I want people around who are going to be excited about working on the next record. It feels so much better now. Feels positive again and we're writing well together."

The band will continue on as a three-piece (Ruck, Burton, and Lannon) in the studio, perhaps inviting guest musicians to add rhythmic flourishes. Work on the next album, to be released on Beggars, will begin right away, now that the fall tour has been cancelled. Burton enthusiastically notes, "We just got a song placed in a movie called You Are Here with a soundtrack featuring Joy Division, Bloc Party and the Rapture. Not bad for local boys, eh?"

It's pretty clear to me why Burton soldiers on: because he can't live without it. And it's not just Film School who embraces this lifestyle; countless others are pounding the indie pavement deep into their fourth decade. Indie isn't just all-ages anymore. Burton says, "When you're not a huge band like Aerosmith, you have to learn how to adapt. That's the point, you have to learn how to adapt in order to move forward."

Tuesday, September 19, 2006

NEW RELEASES: MISTAKES & REGRETS.....

Big, big week for new releases, should be good for the industry with all the JT's, Beyonce's, Chingy, Fergie (AKA crap), Jewel, Elton John, Scissor Sisters, Christina's, and that Ludacris fool out there, plus some heavy hitters this week. Here's a look at some of the former FUTURE SOUNDS bands putting out new discs:

The Dears: Gang Of Losers (Arts & Crafts)(FS17)- Canadian outfit with the voice of Morrissey.

The Hold Steady: Boys and Girls in AM (FS13) - Those lyrics, that voice, haven't heard it yet, but could be good.

Honeycut: The Day I Turned To Glass (Quannum) (FS25) - Ok, so it came out before I got around to putting the latest FS out, but here's an act to watch with a big radio hit potential in 'Shadows'.

Jet: Shine On (Atlantic) (FS07)- I had them on prior to the JET explosion, or curse on the Earth as I'd later regret. Jet, Kasabian, Killers released on the same day?? Great planning there, gobble up each other's spending.

Kasabian: Empire (RCA)(FS09, FS18)- Another band that had so much promise, then jumped shark on me. Worst thing was finally seeing them live at SXSW and being extremely let down by their live show, or lack thereof. Oh well...See for yourself tonight on Letterman.

The Killers: Sam's Town (Island/Mercury)(FS02, FS03, FS04, FS06) - Couldn't let our former "friends" go unnoticed today, after all the blood sweat and tears, I hope Mr Bighead continues to do well. Here's to you guys, hope you are enjoying the good life.

Mohair: Small Talk (Grunion Records)(FS21)- Amazing band that blows away that new Snow Patrol yawner.

My Morning Jacket: Okonokos (ATO)(FS06)- Double live album from a fantastic band. Had to have at least one former FS act of the group still represent with some integrity.

Adem: Love And Other Planets (Domino Recordings) (FS12) - I have no idea what to expect from this release, been seeing some lukewarm reviews, but that doesn't mean anything.

Saturday, September 16, 2006

I WISH LUDACRIS WOULD GO AWAY, FOREVER

As I drive around Los Angeles, I keep seeing something that immediately makes me get all negative and wish something bad on someone: ALL THE NEW BILLBOARDS AND SIGNS FOR THE NEW LUDACRIS ALBUM.

Of all the people in the world, for some reason I CAN'T STAND LUDACRIS. I feel like this guy has the whole world under the jedi mind trick, convincing everyone that he is some kind of a star. He has a great sound to his voice, and sometimes when he guests on someone else's tracks he hits it just right, but for the most part he's totally uninspiring and a complete idiot. Watching him do an interview is horrific, the guy talks like he's trying to be Jay-Z, minus being the president of a label. What's worse is his acting, or really what should be called, Ludacris playing himself over and over again. I mean was it a stretch for him in CRASH? That movie was another jedi mind trick over the entertainment industry, but that's another story.

So look above at this album cover - is this guy so full of himself or what? I'm sure it will go on to "move units" and I'll get more disgusted by the day, passing these billboards, watching him on award shows, and hearing his jabber about being the greatest in hip hop. I like to play a game called Buddy Holly, where you can pick 3 people in entertainment that you'd like to see go down in a wheat field. Ludacris is one for me. Who's yours?

THE EBB AND FLOW: HERE ARE CAUGHT

I've been familiar with San Francisco's THE EBB & FLOW for some time now, but I was recently handed their latest, self-released EP, called 'Here Are Caught' and it's damn good!! It's gotta groove to it and it really rocks.

SCOTT MATTHEWS: ELUSIVE

SIMPLY GORGEOUS is 'Elusive', the single by Wolverhampton's SCOTT MATTHEWS. Hell, if JAMES BLUNT can sell millions off that damn 'You're Beautiful', this one should put Scott on the music map. It's already started in the UK, I first heard this song on Zane Lowe's Radio1 playlist, and word is spreading like wildfire. I haven't heard a song this gentle since DAVID HOPKINS' gave us 'Amber & Green'. Honestly, this one is a no brainer, and if people gobble up the likes of ALEXI MURDOCH and DAMIEN RICE, then Scott's headed for good times. This track will be showing up on FUTURE SOUNDS 25, don't you worry about that.

BAND TO WATCH: TIGERCITY

This band has been getting some attention from various places now for months, and I finally downloaded some of the tracks and had an immediate attraction to the sound of TIGERCITY. They are from Brooklyn and their groove is unpretentous and great for a club. Haven't seen them live, just like what I've downloaded.

MY MORNING JACKET TO HIT THE ROAD AGAIN

Good news! The fantastic Kentuckiana band, MY MORNING JACKET, will be hitting the road again and coming to you. On top of that, MMJ will release, 'Okonokos' (Double Live Album), holding 21 live tracks on two discs, to be released on September 26th on ATO/RCA Records.

Thursday, September 14, 2006

FINALLY, US RELEASE OF EL PERRO DEL MAR

Nabil Ayers and his crew up in Seattle have great taste. Not only do they have one of my favorite independent record stores (SONIC BOOM), but they run a great label called THE CONTROL GROUP and they were smart enough to link up to release the EL PERRO DEL MAR album, El Perro Del Mar, in the US on November 7th. I included the track, "I Can't Talk About It" on FUTURE SOUNDS 24, and the record is fantastic. Previously, this was only released in Europe on Memphis Industries. EPDM is really Sarah Assbring, and she is from Gothenburg, Sweden.

WATCH THE NEW APARTMENT VIDEO

TEDDYBEARS ATTACK SAN FRANCISCO TONIGHT @ POPSCENE

WOW! last night I had the pleasure of hanging out with the fun-loving Swedish group, TEDDYBEARS last night in Los Angeles while they spun records to a wireless crowd, and you couldn't meet 3 guys with better musical tastes or cooler teddybear heads. Now they're headed up to DJ a set at POPSCENE in San Francisco, all to help promote their soon to be released album, "Soft Machine" (on Big Beat Recordings/Atlantic). The record features collaborations with MAD COBRA, NENAH CHERRY, ELEPHANT MAN and IGGY POP. They are currently the free single download of the week on iTunes this week, so go grab it for free for now. These guys have been around for years (Joakim Åhlund is also in the CAESARS), mostly known in Europe, but have invaded those of us in America now.

BAND TO WATCH: FOREIGN ISLANDS

One of my good friends that happens to be a manager (among other things), casually told me about his latest artist, and sent me a couple of mp3's. The band is called FOREIGN ISLANDS from New York City and they are excellent!

Monday, September 11, 2006

NEW RELEASES THIS WEEK: C.S.S. - Cansei De Ser Sexy

CSS - Cansei De Ser Sexy

FINALLY, we've heard the singles from São Paulo, Brazil's CSS, and now we get the full length 'Cansei De Ser Sexy' released tomorrow on Sub Pop. Cansei De Ser Sexy, meaning "tired of being sexy" in Portuguese, is your new favorite party CD for 2006. The track 'Alala' is amazing, like LCD SOUNDSYSTEM meets LIFE WITHOUT BUILDINGS. Buy this record immediately! They'll be on your new Future Sounds 25.

Download the track, 'Let's Make Love and Listen to Death From Above' HERE.

Yo La Tengo: I Am Not Afraid of You and I Will Beat Your Ass FS03(Matador)

ALSO COOL RELEASES OF NOTE THIS WEEK:Black Keys: Magic Potion (Nonesuch)Junior Boys: So This Is Goodbye (Domino)Los Lobos: The Town and the City (Mammoth/Hollywood)Mastodon: Blood Mountain (Warner Bros)

Friday, September 08, 2006

WATCH OUT FOR THE VOOM BLOOMS

BAND: THE VOOM BLOOMS

So I'm getting really close to having FUTURE SOUNDS 25 completed, and it's the strongest yet by far. It's so strong, that bands like THE KLAXONS and this band, THE VOOM BLOOMS, didn't make the cut. I've decided to do them justice anyway by helping spread the word about this Loughborough (UK) band that has been showing up on plenty of UK radio playlists, but nothing here in the US yet. The single that grabbed me is actually their second single, "Anna" that will be released on a limited 7” on September 18th by the band's own label, 23 Recordings. This song gets me going in that jumpy kinda DEXY'S MIDNIGHT RUNNERS kinda way, but it's still unkept, surly, and rough around the edges. Maybe not the freshest sound you've ever heard, but listen to it once or twice and you'll be singing "now that Anna's my darling we just dance all night!" Check it out for yourself.

I did some googlin' and found the song, "Anna" available for download, HERE. (thanks Exitfare)

BLOGS: Opinions are like......

I read something interesting on HITS by Rodel Delfin, called 'Love Dem Blogs' that I had to really agree with for the most part. I love my blog, it's great after all, and I love the whole idea of blogging and I love reading other people's blogs. They are great scouts, people actually on the scene in various cities, boasting about their local favorites, bands they like, and more than anything keeping new information on bands and artists fresh from the likes of the Spin/Rolling Stone/etc crap. However, the hype on them by a majority of A&R types has been overblown, and I've been frustrated by people jumping on the bandwagon each week, in fear of missing out on the next ARCADE FIRE or CLAP YOUR HANDS SAY YEAH. It's actually become a disease. Desperation to prove you were the first to blog about a band, so that all the blogs have to reference you every time they get turned onto the same band, but have to feel lame for being slow on the draw, or the post. My favorite blogs are the ones written by freakish music junkies, people that just love to talk music, listen to music, go see live music, and write about bands they actually know and like. I visit some blogs that seem to get tons of traffic, and they just stick up new bands every day, bands that suck, or are just average at best, and then make sure they are the FIRST to have posted it. It's like the classic A&R fish story, where everyone told their bosses to sign FRANZ FERDINAND but their boss passed, but they were there first. I remember with THE KILLERS, so many reps passed, saying there was no star power in Brandon, no songs, etc, only to later chase the tail when it heated up. No new tale to tell there right, but it really cracks me up. The perfect example is that band, TAPES 'N TAPES, I mean, has anyone had that much blog action about a group that, no matter how many times I've listened to those tracks, are just average?? I looked at the new soundscan (which doesn't measure quality by any means) and I see 2,000 records sold. Hmmm, wow!

Anyway, here's Rodel's story:

WHEELS & DEALS: LOVE DEM BLOGS Being a Weasel in the Modern World Is Tricky Enough Without Having to Figure Out What’s Real and What’s Virtual Hype

September 7, 2006

By Rodel Delfin

As much as we enjoy reading some of the music/A&R blogs, although it seems like hundreds of new ones pop up every day, there appears to be a growing dislike for them in A&R circles. Several label execs shared with us that the blog hype for bands is blurring what’s real and what’s not. It has obviously helped initiate the buzz for acts like Tapes ’N Tapes and the Cold War Kids. And hey, we understand what spreading the buzz is all about—this space has been winding up deals for years. That said, the gripe we’re hearing is that a blog band of the month may end up packing the Mercury Lounge on their third show ever, but a few months later, after all the bloggery has gone away, they can barely fill half the room. In other words, as one senior label rep put it, blog hype for a band tends to create an artificial following. Said weasel further added that a lot of these bands are L.A. or N.Y. phenomena only and would probably not appeal to the rest of the country, let alone sell enough records to justify being signed to a major. Be that as it may, music blogs have become another tool in today’s brave new A&R world and, just as MySpace has become an important information source, the blogs shouldn’t be dismissed altogether…

APARTMENT PICKED AS A&W WORLDWIDE 'ARTIST OF THE WEEK'

One of my very favorite London bands, APARTMENT, got a nice pick as "Artist of the Week" on A&R Worldwide . Subscribers, you may remember them recently as I just had them on FUTURE SOUNDS 24 ("Fall Into Place"), and have had them on in the past. Here it is:

A&R WORLDWIDE’S "ARTIST OF THE WEEK": APARTMENT

Apartment are undoubtedly a virtually international group. The four–piece have lived all over the world including countries such as Italy, Belgium, Zimbabwe, France, Luxembourg and they currently reside in London. Apartment delivers infectious melodies, captivating lyrics and majestic vocals, all of which leave your ears wanting more. In fact, lead singer David Caggieri decided to take music seriously after receiving some strong words of encouragement from Jeff Buckley’s mother after she saw Caggieri perform a Jeff Buckley tribute concert. Apartment are rapidly raising the ears of both A&R and publishing executives a like with their recently recorded full–length, which contains the truly brilliant single, "Fall Into Place." Apartment has already supported bands, such as, the Editors, The Bravery and British Sea Power and was handpicked as special guests by The Killers, as well as opening as support for Jimmy Eat World dates in 2005. The band has released two singles on the UK tastemaker independent Fierce Panda (both Coldplay and Keane released singles on Fierce Panda prior to their major label signings.) For more information, log on to www.myspace.com/apartment, or contact the band’s manager Jack Steven at jack@kubamusic.org. To listen to Apartment ’s single, "Fall Into Place," click HERE.

WATCH OUT FOR THE KLAXONS

So after hearing them on the Steve Lemacq show, apparently I'm way late on this band, THE KLAXONS, from the UK. Reading some reviews on them they are supposed to be some kind of new age ravers, but I can only go by the tracks I was lucky enough to snag off blogs. 'Gravity's Rainbow' (is that a Pynchon reference?) has been on non-stop rotation, so I've included it below. Turns into a hyper freak-out by songs end, like the BEE GEES on speed. 'Atlantis To Interzone' continues on this DR WHO acid trip, manic but structured. Sort of reminds me of something THE CORAL would put together for some huge pagen celebration, like the one at the end of the Tom Hanks version of 'Dragnet'. The kind of song for a King Kong human sacrafice. I love the urgency. Hope they bring it live.

Familiar with Klaxons? If not then you will be very soon. Their rave meets punk beats are infections and beg the listener to dance. After achiving some cult success with "Gravity Rainbow" earlier this year, Klaxons are now ready to conquer America. Want to see what we mean? Check out the MP3 and video below. Or, if you are brave enough, go see them live in NYC in a few weeks. Something tells me this is gonna be good.

Wednesday, September 06, 2006

SAD NEWS: OUTPUT RECORDINGS TO CLOSE

London based independent label, OUTPUT RECORDINGS, is closing down after 10 years and almost 100 releases. This label had many outstanding releases, like COLDER'S 'Again' (former Future Sounds track), as well as past FS songs from DEAD COMBO, 'You Don't Look So Good', and releases by FOUR TET. It's too bad when the good guys go down. RIP.

THE RUBY TAILIGHTS: DRESSING UP

I've been meaning to write something up about the CD I received in the mail from Dublin's RUBY TAILIGHTS, called 'Dressing Up' on the Irish label, Buenos Records. It's one of those soft releases you can play on repeat and never bore of as the tracks are gentle on your mind. I wrote about and put 'Switch' on a previous Future Sounds comp, but the full length spins magic with 'Bloodboy', 'Rocket', 'All Of It', and 'Buenos Aires'. The song called, 'Dressing Up', is actually the most tender moment on the disc, a wonderful tune. Would love to see Martain and the RT's get the word out to people outside of Ireland.

THE RUBY TAILIGHTS – SwitchI had this demo CD handed to me while visiting Ireland at the end of last year, and I was quickly taken by something gentle and low-fi and fuzzy. Formed in 2003 by Martain Kelly, former frontman of Dublin band SUNBEAR, this is Dublin, Ireland’s THE RUBY TAILIGHTS. Thrift store-indie rocker types and fans of DEATH CAB FOR CUTIE, SUFJAN STEVENS, and BRIGHT EYES should warm up to this one. It just feels good. Needs: Management, legal, booking.THE RUBY TAILIGHTS – Demos – No label.

Here's what "The Last Splash" show on Today FM (Ireland) said:"The Ruby Tailights have all the qualities of my favourite bands wrapped up in one. They can remind you of the Pixies, a bit of Pavement and some Guided by Voices all at the same time". - Alison Curtis, Today FM

TONIGHT: BLACKMARKET @ The Viper Room

TONIGHT @ The Viper Room, get down and check out BLACKMARKET from Arizona. These kids are hotly tipped right now, so it should be a weasel fest. Songs are pretty strong, worth seeing if the live show stands up.

Here's some band info off their myspace page:Blackmarket formed out of lake havasu city, Arizona in 2003. With a truly unique sound they've been compared to bands like the Clash with a smooth mixture of dance, radio ready and artistic creativity. In regards to the latter they draw comparisons to the Cure and U2. At live performances one notes the floating guitars backed by an excellent rhythm section and Bono/Robert Smith like vocals illiciting concert goers to sing along. Look for songs like "Indigo" and "Bad Call" and "Colors" to attract label attention. The band is comprised of Daryl Lamont (vocals, guitar), Jason Brindis (guitar, keyboards), Mikey Emerson (bass), and Langdon Chieffo (drums).

Tuesday, September 05, 2006

New releases this week to check out

A band I really love for their subtlety are GRIZZLY BEAR, releases 'Yellow House' today through Warp Records. Here's the latest off their Web site:Grizzly Bear will return from Europe to launch a seventeen-date North American tour, which will bring them to cities on both the East and West Coasts and in Canada and will be joining up with Brooklyn art rockers TV on the Radio in October and accompanying them for several dates thereafter.

Can't stop playing TEDDYBEARS - Cobrastyle

Since I finally gave in to the ads on the side of all the blog pages recently and clicked on TEDDYBEARS, I cannot stop playing their track 'Cobrastyle', featuring Mad Cobra. If this one doesn't hit, people are sheep. I guess after watching the VMA's the other night, I might be in trouble. I mean, Fall Out Boy? Panic At The Disco? Was that guy really wearing a cape with a monkey on his shoulder???

Teddybears will release thier new album, 'Soft Machine', on September 12th through Big Beat Recordings. They are from Sweden and I've already heard this song pop up on Indie 103.1 last night. They'll for sure by on FUTURE SOUNDS 25 and probably on every radio station before long. Mad Cobra sounds great froting over this bouncy song that should've been with Gnarls Barkley as the song of the summer.

Monday, September 04, 2006

THE LITTLE ONES SIGN TO ASTRALWERKS

Congrats go out to THE LITTLE ONES, the LA band that just signed to Astralwerks. They showed up on FUTURE SOUNDS 24, and didn't sit unsigned for long. On top of that, they are hitting the road with former Future Sounds (FS14) act, THE FRENCH KICKS, for tour dates throughout September and into October.